The display issueTrusting yourself or allowing others to help you grow… So, over the past week or so I have been having a number of trials and tribulations over my first wax. The main part of the piece developed easily, […]
Ryan Moule, 'Charlotte', Photograph, 2010. Photo: Ryan Moule. Courtesy: Ryan Moule.
Keskusta, Scarf, Merino Wool, 2009. Courtesy: Ruthin Craft Centre.
Rosalind Davis, 'A difference in Vision', oil and embroidery on cotton sateen, 2010. The Robin Hood Estate in Poplar, London. The controversial 196o's housing project by architects, the Smithsons.
Jane Ostler, 'Early Signs of Spring on Holland Common, detail', Water colour on paper, 2006. Photo: Jane Ostler. Courtesy: Jane Ostler. A vision of a perfect idealised world, as you might find painted on china by a designer (or robot).
Elfyn Lewis, 'Efailwen', acrylic/mdf (20X21), 2010. Photo: Elfyn Lewis.
Elfyn Lewis, 'Nantmel', acrylic/mdf (25X25), 2010. Photo: Elfyn Lewis.
Alice Forward, 'Poisoned Bee', digital photograph, 1.02.10. Photo: Alice Forward.
'Mill24', Islington Mill, Salford. 24 April and 29 May 2010
Contents include: Residencies and communities feature; the future of foundation courses in Debate; Big picture is Conflict by Kerry Jameson; Christine Wilcox-Baker recounts her residency at Tatton park in Collaborative relationships. PDF version [size 5 MB]. Requires PDF reader. a-n […]
Littlewhitehead, Sentient Orbs, mixed media installation, 2009. Installation view at Talbot Rice Gallery (part of ‘Grey Matter’ exhibition).
Through its ongoing research and dialogue with artists, a-n aims to identify themes that consistently appear in each and every artist’s requirements, no matter how diverse their practice.
Well done Renos Lavthis for your letter in support of John Nutt’s December letter with regard to the debate on art today.
Linda Ball is project leader of Creative Graduates Creative Futures the largest research study to date about the career paths of art and design graduates. She talks to Jane Watt about the research, her own experience of a portfolio career and the importance of having creativity at the core of professional practice.
When I look at many of the images and articles that frequently appear on various sites over the web and in contemporary art magazines including a-n, I can feel my whole artistic beingand personality sinking into some sort of hopeless psychological swamp or pit.